八十年代内蒙古油画中的草原地域性探索
发布时间：2019-06-18 19:01
【摘要】：在美术史中,任何艺术的表现形式都与它所处社会背景息息相关,而地域性特征是影响艺术的重要因素。内蒙古辽阔的自然环境和人文精神是影响了草原油画艺术创作形式和内容。内蒙古油画在保持地域性和民族性的基础上,又在艺术创作中对草原地域性有很好的表现,这利于内蒙古油画艺术特点的形成,使得内蒙古油画艺术有着抒情的特点。草原地域性影响了民族意识形态,决定了民族特色。而油画艺术家的艺术灵感来源于生活,真实的表达艺术情感,草原地域性与民族性赋予了艺术创作的民族内涵与精神内涵,使内蒙古油画艺术具有鲜明的地域特征。八十年代的内蒙古油画具有承上启下的特点,经历了文革的压制时期,油画艺术有了积累和沉淀,粉碎四人帮后,内蒙古油画艺术恢复发展并走向了全面繁荣的时代,也是打破艺术的封闭状态走向全国,内蒙古美术出现了一个前所未有的局面,可谓是百花齐放、百家争鸣。进入八十年代后,人们的生活和思想在改革开放中发生了深刻的变化,内蒙古一批油画艺术家走出国门,如妥木斯、金高等人,相继举办展览,学习吸收借鉴西方文化与自己的民族特色相结合,促使八十年代内蒙古油画创作进入高速发展的状态。油画艺术创作是艺术家对客观事物的加工创造,但脱离不了现实,内蒙古油画是艺术家对生活、自然有所感触后通过艺术作品表达出来。在内蒙古大草原上聚集了一批热爱草原生活的艺术家,他们喜欢描绘内蒙古草原和草原生活,逐渐形成了内蒙古油画创作群体。艺术创作离不开客观环境因素的影响,在内蒙古油画艺术家的创作中,能深刻感受到草原的自然因素和人文因素的影响,首先,颜色上,很多内蒙古油画家偏爱灰色调,如妥木斯先生艺术作品中,大面积的灰色调构成整个画面,画面充满形式感,具有民族化艺术的特点。在风景画上,很多画家表现空间的空灵、荒寂、漫无边际或者是壮丽雄伟的山川,突出内蒙古草原的神韵。在人物画上,艺术家更喜欢蒙古族形象,通过油画艺术传达蒙古族的神情气韵。这些都是内蒙古草原生活的气息,在油画作品中得到很好的表现。八十年代的内蒙古油画立足于草原地域性的基础上,打破固有状态,吸收多元素文化的影响,兼收并蓄,使内蒙古油画有了突飞猛进的发展,为以后内蒙古油画创作打下了结实的基础。
[Abstract]:In the history of art, the expression form of any art is closely related to its social background, and regional characteristics are an important factor affecting art. The vast natural environment and humanistic spirit of Inner Mongolia affect the form and content of grassland oil painting art creation. On the basis of maintaining regional and national nature, Inner Mongolia oil painting has a good performance of grassland regionality in artistic creation, which is beneficial to the formation of Inner Mongolia oil painting artistic characteristics and makes Inner Mongolia oil painting art have lyric characteristics. The regional nature of grassland affects the national ideology and determines the national characteristics. The artistic inspiration of oil painting artists comes from life, the real expression of artistic feelings, grassland region and nationality endows the national connotation and spiritual connotation of artistic creation, which makes Inner Mongolia oil painting art have distinct regional characteristics. The Inner Mongolia oil painting in the 1980s has the characteristics of connecting the above and the following. After the suppression period of the Cultural Revolution, the oil painting art had accumulated and precipitated, and after smashing the Gang of four, Inner Mongolia oil painting art resumed development and moved towards the era of all-round prosperity, and broke the closed state of art to the whole country. Inner Mongolia art appeared an unprecedented situation, which can be described as a hundred flowers blooming and a hundred schools of thought contending. After entering the 1980s, people's life and thought have undergone profound changes in the reform and opening up. A group of oil painting artists in Inner Mongolia have gone out of the country, such as Tomus, Jin Gao and so on, have held exhibitions one after another, learned to draw lessons from the combination of western culture and their own national characteristics, and promoted Inner Mongolia oil painting creation to enter a state of rapid development in the 1980s. Oil painting art creation is the artist's processing and creation of objective things, but it can not be separated from reality. Inner Mongolia oil painting is expressed through artistic works after artists have feelings for life. There are a group of artists who love grassland life on Inner Mongolia prairie. They like to depict Inner Mongolia grassland and grassland life, and gradually form Inner Mongolia oil painting creation group. Artistic creation can not be separated from the influence of objective environmental factors. In the creation of Inner Mongolia oil painting artists, they can deeply feel the influence of natural factors and humanistic factors of prairie. First of all, in color, many Inner Mongolia oil painters prefer gray hue, such as Mr. Tomis' works of art, a large area of gray tone constitutes the whole picture, the picture is full of form, and has the characteristics of nationalized art. In landscape painting, many painters express space emptiness, desolation, boundless or magnificent mountains and rivers, highlighting the charm of Inner Mongolia grassland. In figure painting, artists prefer Mongolian images, through oil painting art to convey Mongolian look charm. These are the breath of Inner Mongolia grassland life, in the oil painting works get a good performance. Based on the regional nature of grassland, Inner Mongolia oil painting in the 1980s broke the inherent state, absorbed the influence of multi-element culture, and absorbed the influence of multi-element culture, which made Inner Mongolia oil painting develop by leaps and bounds, and laid a solid foundation for Inner Mongolia oil painting creation in the future.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
本文编号：2501711
[Abstract]:In the history of art, the expression form of any art is closely related to its social background, and regional characteristics are an important factor affecting art. The vast natural environment and humanistic spirit of Inner Mongolia affect the form and content of grassland oil painting art creation. On the basis of maintaining regional and national nature, Inner Mongolia oil painting has a good performance of grassland regionality in artistic creation, which is beneficial to the formation of Inner Mongolia oil painting artistic characteristics and makes Inner Mongolia oil painting art have lyric characteristics. The regional nature of grassland affects the national ideology and determines the national characteristics. The artistic inspiration of oil painting artists comes from life, the real expression of artistic feelings, grassland region and nationality endows the national connotation and spiritual connotation of artistic creation, which makes Inner Mongolia oil painting art have distinct regional characteristics. The Inner Mongolia oil painting in the 1980s has the characteristics of connecting the above and the following. After the suppression period of the Cultural Revolution, the oil painting art had accumulated and precipitated, and after smashing the Gang of four, Inner Mongolia oil painting art resumed development and moved towards the era of all-round prosperity, and broke the closed state of art to the whole country. Inner Mongolia art appeared an unprecedented situation, which can be described as a hundred flowers blooming and a hundred schools of thought contending. After entering the 1980s, people's life and thought have undergone profound changes in the reform and opening up. A group of oil painting artists in Inner Mongolia have gone out of the country, such as Tomus, Jin Gao and so on, have held exhibitions one after another, learned to draw lessons from the combination of western culture and their own national characteristics, and promoted Inner Mongolia oil painting creation to enter a state of rapid development in the 1980s. Oil painting art creation is the artist's processing and creation of objective things, but it can not be separated from reality. Inner Mongolia oil painting is expressed through artistic works after artists have feelings for life. There are a group of artists who love grassland life on Inner Mongolia prairie. They like to depict Inner Mongolia grassland and grassland life, and gradually form Inner Mongolia oil painting creation group. Artistic creation can not be separated from the influence of objective environmental factors. In the creation of Inner Mongolia oil painting artists, they can deeply feel the influence of natural factors and humanistic factors of prairie. First of all, in color, many Inner Mongolia oil painters prefer gray hue, such as Mr. Tomis' works of art, a large area of gray tone constitutes the whole picture, the picture is full of form, and has the characteristics of nationalized art. In landscape painting, many painters express space emptiness, desolation, boundless or magnificent mountains and rivers, highlighting the charm of Inner Mongolia grassland. In figure painting, artists prefer Mongolian images, through oil painting art to convey Mongolian look charm. These are the breath of Inner Mongolia grassland life, in the oil painting works get a good performance. Based on the regional nature of grassland, Inner Mongolia oil painting in the 1980s broke the inherent state, absorbed the influence of multi-element culture, and absorbed the influence of multi-element culture, which made Inner Mongolia oil painting develop by leaps and bounds, and laid a solid foundation for Inner Mongolia oil painting creation in the future.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
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